50 Years Later: A Landmark Recording Session

This year marks the 50th anniversary of Randy Westons signature recording session Uhuru Afrika, certainly a good time to reflect on that singular record in this Randys 84th year on the planet. And Im happy to report that our as-told-to book African Rhythms: The Autobiography of Randy Weston, composed by Randy Weston, arranged by Willard Jenkins, will be released by Duke University Press this fall, just nine years in the making! The lead-up to, the story of, and behind the making of Uhuru Afrika will be told in great detail in the book, but in light of this 50th anniversary of its recording I thought it was a good time to reprise the piece I contributed on the subject to DownBeat magazines February 2005 issue.

Freeing His Roots, The Making of Randy Westons Landmark Opus Uhuru Afrika

A social awareness swept through the jazz community around 1960. African-American jazz artists began to assert their heritage, embarking on a cultural quest in an atmosphere of racial and social unrest. Between 1958-1961, albums addressing the African-American social lanscape included Art Blakeys Africaine, John Coltranes Africa Brass, Oliver Nelsons Afro-American Sketches, Dizzy Gillespies Africana, Max Roachs Freedom Now, and Sonny Rollins Freedom Suite.

In addition to these albums, Randy Weston asserted his African Heritage with the 1960 recording of Uhuru Afrika, an inspired, historic statement from the pianist/composer. Looking back at the recording of this album, which took place [50] years ago. Weston is a bit defensive when describing his motivations.

“Some people questioned my Africanness. They were afraid to deal with Africa," Weston said. “Some people said we were Black Nationalist because we created a music based upon African civilization. We have so little education about Africa, Uhuru Afrika, was a complete turnabout. We said, Africa is the cradle of civilization. Although were in Africa, the Caribbean, Brooklyn, or California, we have this commonality, spirituality and the great contributions of African society within all of us."

Weston was raised in a home of keen cultural awareness. The sancitity of his African heritage was a constant source of childhood inspiration, spurred by his father, Frank Weston. “I was in tune with Africa, and I was always upset about the separation of our people," Weston said. His dad, raised in Jamaica and Panama, cultivated that African consciousness in his only son. He kept literature on Africa and black liberation subjects around their home, and he insisted that Randy know that he is an African living in America.

In January 1955, Weston recorded the album Trio (Riverside) with bassist Sam Gill and drummer Blakey, which featured Westons first composition “Zulu." Westons African sensibilities emerged in his music from the outset, and he got a nod as “New Star" pianist in the 1955 DownBeat Critics Poll.....
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